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Australian landscape memoir as conservationist vehicle: Winton, Tredinnick, Greer
cultural geographies ( IF 1.6 ) Pub Date : 2020-11-30 , DOI: 10.1177/1474474020978489
David Huddart 1 , Graham Huggan 2
Affiliation  

In this essay, we propose to study three recent Australian landscape memoirs – Tim Winton’s Island Home (2015), Mark Tredinnick’s The Blue Plateau (2009) and Germaine Greer’s White Beech (2013) – all of which demonstrate the capacity of landscapes to act as perceptual conduits for the fundamental tension between world and self. Our main contention is that landscape memoir acts as a pre-eminent vehicle for this tension, which is captured across different times and spaces and among multiple, intricately co-constituted life-worlds. Landscape memoir, in this and other ways, functions as both a multi-sensory phenomenological instrument for the recording of physical and emotional engagement with landscape and a distinct, episodically organised mode of life writing that seeks to understand the fractured nature of individual selfhood in the context of a more-than-human world. The essay also looks at the capacity of memoirs of this kind to operate as vehicles for conservationist thinking and action. In each of our three main cases, landscape mediates between an insecure self and a world or worlds that are portrayed as being threatened, although this is not enough in itself to establish a basis for the three works as ‘conservationist’ texts. However, all three can be seen as individual enquiries into different kinds of conservation that use the techniques and characteristics of landscape memoir to reflect on the material possibilities of personal and collective recovery (Winton) and ecological restoration (Greer); or, over and against these, to mark the elegiac registration of irretrievable loss (Tredinnick).



中文翻译:

作为保护主义工具的澳大利亚风景回忆录:温顿,特雷丁尼克,格里尔

在本文中,我们建议研究最近的三本澳大利亚风景回忆录–蒂姆·温顿的《岛屋》(2015年),马克·特雷丁尼克的《蓝色高原》(2009年)和杰曼·格里尔的《白榉木》(2013)–所有这些都证明了景观具有作为感知世界和自我之间基本张力的管道的能力。我们的主要论点是,景观回忆录是这种紧张关系的杰出载体,这种紧张关系跨越了不同的时间和空间,并存在于多个错综复杂的共同生活世界中。以这种方式和其他方式,山水回忆录既是一种多感官现象学工具,用于记录与山水的身体和情感互动,又是一种独特的,有意识的,有组织的生活写作方式,旨在理解个体自我破碎的本质。超越人类的世界。本文还着眼于此类回忆录作为保护主义者思考和行动工具的能力。在我们的三种主要情况下,景观在不安全的自我和被描述为受到威胁的一个或多个世界之间进行调解,尽管这本身不足以为“保守主义”文本作为三部作品的基础。然而,这三者可以看作是对不同种类的保护的个人询问,它们利用景观回忆录的技术和特征来反思个人和集体恢复(温顿)和生态恢复(格里尔)的物质可能性;或者在这些之上和相反地标记挽回无法挽回的损失的商标(Tredinnick)。这三者可以看作是对不同种类的保护的个人询问,这些询问利用景观回忆录的技术和特征来反思个人和集体恢复(温顿)和生态恢复(格里尔)的物质可能性;或者在这些之上和相反地标记挽回无法挽回的损失的商标(Tredinnick)。这三者可以看作是对不同种类的保护的个人询问,它们利用景观回忆录的技术和特征来反思个人和集体恢复(温顿)和生态恢复(格里尔)的物质可能性;或者在这些之上和相反地标记挽回无法挽回的损失的商标(Tredinnick)。

更新日期:2021-01-14
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